![]() ![]() In short, I had six computers back then and my studio’s been streamlined down to two or three.įurst: My current system consists of two Mac Pro Harpertown 3GHz 8-core computers, each with 24 gigs of RAM and 4 to 5 terabytes of storage space. In addition to these five computers, I had a MacBook Pro, which I used (and still do) as a spillover machine I’ll stick Storm Drum on there, some synth libraries, the Forest Kingdom library. ![]() My master computer was a Mac G5, and I ran Pro Tools on a Mac G4. Kliesch: Five years ago I ran three GigaStudio machines. I definitely still need slaves, at least for a large orchestral template. It seems the pace of computer development has been equaled by the increasing demands of the samples we use. I was hopeful when I purchased my latest Mac Pro that I would be closer to a single-computer setup. The computers were just a lot slower with less RAM. I may be the odd man out here, but five years ago my setup wasn’t that much different. I run all PLAY libraries and a few more instances of Kontakt on the PCs. I also have four slave PCs with SSD drives hooked up over Lightpipe to my Mac. I run a fair amount of instruments in Kontakt and EXS within Logic. O’Malley: I’m currently running Logic 9 on an 8-core Mac Pro with 32 gigs of RAM and SSD drives. It’s getting very close to being transparent, where every sound you need is available at all times. RAM capacity has expanded dramatically, and 64-bit plug-ins have been a game-changer. Today, I can do 10 times more with only two networked computers tied to a 12-core Mac Pro. Logic Pro was my DAW, which, of course, ran on a Mac, and I had some outboard gear, as well. Newman: Five years ago I had nine computers running GigaStudio. Please describe your current workstation and compare it to the system you were using five years ago. Furst scored Act of Valor, scheduled for release in February 2012, and has been contracted to write music for the Arnold Schwarzenegger vehicle Black Sands, which begins shooting in the spring. Still shy of 30, Nathan Furst already has an impressive list of credits under his belt. His orchestral scores have been performed by a number of ensembles, and for the past several years O’Malley has worked as orchestrator and arranger for Yanni. He was elected president of The Film Music Society in 2007 and, in 2009 was given the Richard Kirk Award, designating outstanding contributions to film and television music.įlorida resident Colin O’Malley is an Emmy-nominated composer who scores films, television projects and interactive games. In addition to scoring numerous major Hollywood films, Newman is a violinist and conductor. Last year, Kliesch arranged Alan Menken’s score to the Walt Disney animated film Tangled, and is currently working with Menken on the score to Mirror, Mirror: The Untold Adventures of Snow White, starring Julia Roberts.ĭavid Newman is well known to Mix readers. New Jersey native Kevin Kliesch is a composer and orchestrator who has lived in Los Angeles since 1996. His recent film projects include The Trial and Unrequited. What do they think of recent developments, and how have new technologies affected their workflow?Īfter spending a decade as senior music composer with Paramount Parks, Rob Pottorf moved into the film and television arena. Given the changes that have taken place during the past several years, Mix assembled a panel of composers who make their living writing music for film, TV and games. Though composers making a living scoring to picture still sprinkle several computers around their studios, a single DAW-like the dual Athlon Windows 7 machine that ADK Pro Audio built for me two years ago-can hold lots of samples in resident memory, and it’s Usain Bolt fast. More articulations, greater realism, interfaces that are smarter and easier to use abound. The doors have been blown open in the past year or two with the proliferation of 64-bit processors and large, cheap hard drives. If you wrote out detailed scores prior to turning on your box and were content with loading up just three or four virtual instruments at one time, with limited signal processors in-line, impressive results were achievable. Even then, audio playback placed only a modest burden on a computer. Not that it was impossible to execute large orchestral tracks on one of these antiquated beasts. Limitations in speed, RAM and hard disk size made it impossible for them to produce scores under the time pressures that the industry imposed using only one or two computers. Some worked on PCs, but most composers had multiple computers (up to a half-dozen or more) networked together. Their DAWs might differ, with Mac the preferred sequencer platform for most. Take the time machine back just a few years-to 2005, say, or 2006-and you will see that the model that composers working to picture followed was fairly universal. ![]()
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